Among the remnants of our history, Loved Jorge sews our identity. Manela is finally frees of the confinement for the hands of Saint Brbara/Oy. Adalgisa, of imprisoned and suffered woman, victim of the oppression catholic, changes the figurino. Yans mounts it to it cangalha, breaks it to it frigidez and ends the migraine. Dad now estlivre of its vices, miseries and of ‘ ‘ laws penitenciais’ ‘. ‘ ‘ essncia’ ‘ it unfastens the knot that separated the two women: the owner of house, the owner of the world.

She continues catholic, but she is also, and with much pride, son of Yans. thus, Loved not only proclaims the mestization of the races, but also of the religions, portraying the people of the Bahia. In this land, where magic and saints they live in harmony and if they mix, no people born here can declare ' ' puro' ' , he would be until an irony. Our people is glad, festeiro and of faith, the hibridismo gains multiple here forms, and the religiosidade, we could say, congregates a panteo the holy ghost to protect our people. The religion that we sight in the workmanship, faithful portraies the identity of the Brazilian, transparent, on people directly to the sensuality, marcante characteristic of the author who apimenta and desconstri the hegemony of the European colonial inheritance, making the counterpoint between the religiosidade (moral) and the sensuality (amoral). This confrontation is dissolved in a magical realism of one ' ' history of vencedores' ' of a Creole culture, a country mestizo: ' ' The subject is, in the truth, a war of powerful demiurges, deuses, a confrontation of cultures and races in search of ways and identidades' ' (SEIXAS, 2003, p.16). Our native land gains significant value at the hands of Loved Jorge, quereescreve the history of the Brazilian people, the crossbred people that constitutes 80% of the Bahia, plural hero of the amadiana narrative, plural hero of Brazil.